This year we had the opportunity to see the famous actress Cameron Diaz on the red carpet with a more casual look that all women can put us, whether we have the perfect curves having the blonde actress.
In some children’s awards in the United States could do with a blouse and jeans to shreds that make a beautiful appearance, relaxed and yet very chic.
For this look the first thing you have is a sleeveless blouse and polka dots or, as the Sweet Pea which is excellent for warmer climates, but in cold weather is great with a cashmere sweater, of course other brands also plenty of other colors to choose, Cameron Diaz has decided to personally get one of these shirts with red polka dots on a black background that goes well with his appearance.
This appearance also has some tight pants a little broken in the front to give them a worn look and relaxed. In the picture I show you some Citizens of Humanity jeans have also spent prewash and color that goes well with the shoes I advise you to complete the look, which are high that you will see the long legs and stylized.
I advise shoes are Miu Miu suede are platforms. The model is inspired by the forties with ribbons that adorn the heel and have about thirteen inches high with three inches of leg lengthening platform. You can complete the look with a handbag by Christian Louboutin also can be used over his shoulder.
Hand Embroidery Network
Clearinghouse post on 1970′s prairie style:
The first bit is Butterick 6038 (1978 or 1979), a casual blouse with a split neck, gathered front, collar, and side ties at the waist. I wasn’t sure how I felt about this but I think it’s growing on me. I’m notoriously fussy about fit and I was sort of afraid this just said, “boxy!”, and possibly, “maternity!”, but I don’t really think now that it’s that bad (and I’m trying to become less picky about fit). If I make it again, I’ll trim down the tops of the sleeve caps, both to avoid having to gather them so much and to make the shoulder fit a little less awkward.
The fabric is Kona cotton in “Snow” which, ironically, is off-white. It’s about the color of unbleached muslin but without the natural brown flecks (I wanted to use muslin but couldn’t find any that was opaque enough to look decent). It’s kind of stiff but it did behave beautifully, without any stretching or distortion.
6038 also looks cute with jeans.
I have no idea why I’m not smiling.
Here it is with an improvised dirndl skirt, which is not specifically retro but also not really not
retro. This one was made of two yards of brown Indienne-style calico and uses this awesome half-elastic waistband tutorial
I’m from Texas; I’m allowed to wear boots with everything. If it’s not already in our state Constitution, it should be.
Here’s 6038 again, but with McCall’s 5948 (1978)
, which is full-blown Seventies prairie chic and not ashamed to say so.
The waist ties.
This pattern didn’t include pockets, and I am morally opposed to clothing that doesn’t have pockets, so I added some small patch pockets
to the front, since the side inserts made side-seam pockets awkward.
OMG guys! Jeff got me the best Christmas present ever! Guess who’s going to see The Pee-Wee Herman Show on Broadway TONIGHT??!!
Pee-Wee’s Playhouse was one of my absolute favorite shows as a kid; my brother and I used to watch it religiously on Saturday mornings. Apparently the show that I thought of as just plain awesome silliness was also a critical success, winning 17 Emmys in a 5 season run. Take a look at the Wikipedia page; it’s quite riveting, with quotes like this:
As soon as it first aired, Pee-wee’s Playhouse fascinated media theorists and commentators, many of whom championed the show as a postmodernist hodgepodge of characters and situations which appeared to soar in the face of domineering racist and sexist presumptions.
Who knew I was ingesting such high-minded ideals along with my Saturday morning cereal? But looking back, it was really the aesthetics of the show that appealed to me. Interestingly, Paul Reubens (actor and creator of the Pee-Wee character) was hugely inspired by the 1950s TV of his childhood.
And no character was more alluring and captivating to me than Miss Yvonne, played by Lynne Stewart (who is also in the Broadway cast! Squeal!). I thought she was easily the most beautiful woman in the world, and her dresses were pure eye candy.
Those full skirts! The cleavage! The candy-colored satins!
And, of course, the frills and ruffles.
Anyway, the big question: what to wear tonight? I was originally thinking my red lace, but I’m leaning toward the yellow dress (with appropriate wintertime layering, of course). I just think Miss Yvonne would approve, don’t you?
Any other Pee-Wee and Miss Yvonne fans in the house? After tonight, I might need to order the entire series on DVD so I can admire all of her dresses in succession!
Gertie’s New Blog for Better Sewing
cross posted at The Stitchery by Mary Beth
I love strong color and I love to cook. My kitchen is full of primary colors: yellow, orange, red, green and blue. Yellow and orange are the main colors.
The dining area is attached and there the colors are more muted into pastel shades but dark blue, bottle green and red glass makes it’s presence known against a proper unbleached Irish linen table cloth and white china.
The yellow orange theme kitchen theme is based upon a wallpaper border I put up a while ago. it’s a variation of Vincent Van Gogh’s Sunflowers with lovely colors and navy background.
The kitchen is a place of activity and high energy and when I cook I am working as quickly as possible. I cook in batches so dinners can be frozen ahead of time. I make most things from scratch, depending on how much time I have. And, well, things do go flying! The other day, after splattering cherry juice down the front of me, I wished for an apron, one with a bib on top.
I’ve never made one (that I can remember). I have aprons but they are all inherited from Mothers and Grandmothers; you know, the full skirted half apron, that, on me, makes me look “like a potato sack with a string around it” as Ma used to say.
I wanted fullness, like the sense of fullness and abundance that a kitchen should exude. I wanted “feminine, and fun, but serious fun”. I am not a cute cook. I get dirty. It’s more fun that way
I had yellow/orange cross dyed linen in the stash and some navy so the challenge was to make a full apron with as much covering on top as well as the traditional full skirt in a way that would be more flattering to my short, full body than the outline of a lampshade on two legs. Oh horrors, that is such a bad look on me! So, what did I have on hand????
Ah, the easily disastrous pattern, View D of an old McCall’s 2947:
Here is the result:
But I noticed the shoulder “wings” were trying to slip down my arms
and that would drive me nuts. So to make sure I would want to wear this apron I made a shoulder stay
that would make sure I could tolerate wearing my new kitchen “tool”. It’s set across the back of the top of the shoulders so it’s easy to get over my head without having to button and unbutton.
I’m moving quickly when I am cooking so I’ve got to be able to throw this on without hesitation. I think it will work well, now.
The second issue for me in this basic design is the fullness of the skirt. I need no extra fullness in the tummy or at the sides. Taking a cue from the spacing of the gathers in the Anna Sui pattern I made earlier
I made an inverted pleat across the belly of the apron, allowed gathers over the pockets, smoothed the fabric at the side seams and put maximum fullness at the back. Can you see the spacing?
Here’s the side seam and back
Here’s the front inverted pleat, top stitched down on each side of the fold. This apron will not be ironed so things must be anchored and stay put. The most I’ll do is to try to smooth out those shoulder ruffles with a quick tug as the apron comes out of the dryer. Maybe.
The peaked front of the waist band was a design detail that insisted on being part of the apron. Seriously, it demanded to be included to counteract all the straight lines of the color blocking. It made me work late.
I drew the curves and stitched them on the waistband, then pulled out the stitches and ironed the shape into the interfaced fabric. Then I could easily applique the shape onto the bib. I like it.
I’m relieved: it cute but not “cute”, decorated but not “decorated”. Hope I remember to put it on before the disasters happen!
Happy Sewing and Happy Cooking
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